If I'm going to shoot someone in black and white with a very strong light source, like the sun, backlighting them, and I wanted to maintain some of the diffused, slightly underexposed look to the person who's facing the camera, and I'm not using digital, what's the best way to do this? I would like to see the sun a bit in the background, and have a nice diffused look to the person in the foreground. I've seen this is countless advertisements where people are lounging around on the beach with the sun in the background, their fronts are not blacked out by the backlight, but made to look diffused and slightly dark.
I know this question's been a little convoluted and ineloquent, but any help you guys could offer would be great. I don't have much experience with non-digital filmmaking.
If I was using a still camera, say, a canon AE-1, how would the lighting situation be different?

Thank you all for your input. I know, what I proposed was quite dangerous. I was aware of it from the beginning, and knew there was probably no way anyone would ever get behind a car and be dragged. It just isn't feasible. That's why I posted here - to see if there was some trick to doing it. I also know and respect the great care that must be taken when dealing with stunts. Andrew: your idea is great. I think we will try the dummies. I'll let you know how it turns out.
And Phil, I pramise nver to mispeel ridiculus evar agen.

In an upcoming film, I have a stunt planned. A man is going to be dragged down the street hanging on to a pizza disher outer which is subsequently attatched to a car. Another man is going to be hanging on to the first man's ankles. We are planning to have them drag on asphalt at a very slow speed and speed it up in post. Any suggestions on how we should do this? Tim Burton, in Sleepy Hollow, used Kelvar on Johnny Depp when he was being dragged through a forest. We don't have kevlar. We're planning on using wheeling devices and conceal them under the stunt people who are being dragged. We're also planning on using extra heavy duty protective cups. Has anyone by any chance dragged anyone on the street before during production? Does anyone have suggestions on how to shoot this?
I know this sounds rediculous, but it's important to the movie.
Thank you.

About Chinese Lanterns...
I was on set the other day for the first time and the DP had chinese lanterns nearby... Somehow, it seemed strange that DPs would use these. What kind of effect do they create? What are they often used for?

Thanks, guys. Yeah, I understand how much lighting is first priority. I'll be having to invest in some of those, too... I think I'm going to go with 1K work lights from Lowe's and a dimmer, and I'll make my own barn doors. Low budget shooting seems so tough. Any tips or useful anecdotes from anyone who's been in a situation similar to the one I'm in would be great.

Hi guys.
I've been doing extensive research lately about the best first camera for me. I went to film school over the summer, and am planning to go for undergrad, so I pretty much know what I'm doing. The problem is that this is my first camera, and my parents are hesitant to pay for half of the panasonic dvx100a (even after I've told them countless times about the beauty of that camera) and my budget keeps going down. If I've got 1500 dollars to spend on a camera, which should I buy? Naturally, I need a 3CCD camera, and I'd love XLR outputs. I also want some at least slight look of proffessionalism, but that's the least of my worries. Is it worth it trying to buy a camera off ebay used or something? Cameras I was thinking about: On the high end, the Panasonic AG-DVC30 with XLR outputs for 2000$ off B&H, or a Sony VX2000. On the low end, some kind of sony palmcorder. I heard I can get back lost color saturation very well with FCP. If I get a low-end camcorder and invest in FCP and a good editing machine, would it be just about the same as if I had a better camera and not such good editing software and machine? How much saturation can I really get back?
Any advice would be VERY MUCH appreciated.

I'm looking to buy a new, excellwent camcorder I can't decide whether to spend the extra thousand dollars or so to buy a camera with 24p, or just go with a solid 60i camera. How much difference does 24p make? Does it really make a difference in the picture, or more in the transfer to film? If you were to get a camera that was good but couldn't do 24p, like the canon xl1s for example, which would you get?
Thanks.

Ok so I could white balance on a warm card (something more towards orange, right?) or a cold card (toward blue) then... Crush the blacks? Clip the whites? Forgive me, I'm just a beginner so how would I crush/clip the blacks/whites?

I've got two questions that have been bothering me for quite some time.
Rain is often shot simply, just by showing it as it hits the ground or as constant sheets over a set. Sometimes, however, it's shot in some way so that it seems we can see each fat rain droplet. For instance in 28 Days Later, when the main character is going on his rampage at the end of the movie, we see a shot of him standing in the rain. We can see every rain drop and the shot is amazing. How is this effect achieved? I assume it has something to do with a fast shutter speed.
My second question: I just watched the film "Friday Night Lights". The color seemed washed out. One of the very first shots of the movie is of this huge expanse of desert that seems to be colored a bluish gray brown and has had all the bright, vibrant colors eliminated. Throughout the film, this washed out effect seems constant. How is this effect achieved? Those of you who have seen the movie and know what I'm talking about, I'd love to hear what you think. I believe the same washed out style is used in the fantastic film "Three Kings".
Thanks a lot for any input.

If anyone is selling a canon xl1s either new or in mint condition, I'd pay 1000 dollars. Also, if anyone's selling a new or used canon xl1s 16x manual lens, I'd look into buying that, too.
Thanks a lot for your time.

My first short was also in the style of film noir. It was based on a short story by Bill Pronzini called "Black Wind". I wish I could show it to you.
As far as the film goes, here's my input:
1.) Credits seem to contrast oddly with the interestingly foreboding image of the grandfather clock
2.) GREAT use of negative space on the shot of him walking down the hall
3.) Watch the shadows - sometimes they seem unintentional
4.) Cool sophia coppola lost in translation-esque shot of woman, but strange cut between that shot and the similar one after it. In that same shot, the practical lamp next to the man is not lit - why? It could have an interesting effect, and looks strange unlit.
5.) Good lighting with the shade shadows cast on him - but sourcing that light would have been good. Maybe a shot through the shaded window of a moon or something, to add to the effect.
6.) Many shots are held far too long. A few long lasting shots are good to build up suspense to some intense event, but in this film that event never comes...

I just recently saw PTA's film "Punch Drunk Love", shot by Robert Elswit. Robert uses, quite often throughout the film, intentionally created blue, red, green and other colors of lens flares across different parts of the frame. I loved this effect, especially because lens flares so often mean the scrapping of a shot. How would one go about creating these flares, especially in different colors?